Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Malaysia and from Portland.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1963 to 1974.
I'm losing my edge.
To all the kids in Columbus and Mexico City.
I'm losing my edge to the art-school Spokane kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1976 at the first Wire practice in a loft in Watford.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Jacques Brel to the disco kids.
I played it at the Astoria.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Harmonia. All the underground hits.
All Japan tracks. I heard you have a vinyl of every Bobby Womack record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Kevin Saunderson record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronan,
Deepchord,
Moss Icon,
Index,
Bill Wells,
The Cramps,
Wally Richardson,
Marshall Jefferson,
Magma,
Make Up,
Negative Approach,
Underground Resistance,
R.M.O.,
Hardrive,
Peter & Gordon,
Marc Romboy vs. Booka Shade,
Boredoms,
Juan Atkins,
Fifty Foot Hose,
Stockholm Monsters,
Popol Vuh,
Oblivians,
Lightning Bolt,
Steve Hackett,
Soft Machine,
Traffic Nightmare,
The Pop Group,
Tubeway Army,
Pantaleimon,
Eyeless In Gaza,
Minutemen,
Visionaries,LMNO, T- Love & Iriscience,
Dorothy Ashby,
Oneida,
Grey Daturas,
The Last Poets,
Bootsy Collins,
Robert Hood,
Larry & the Blue Notes,
Siouxsie and the Banshees,
Bang on a Can All-Stars,
The Royal Family And The Poor,
Isaac Hayes,
La Düsseldorf,
Delon & Dalcan,
Slick Rick,
Arthur Verocai,
Second Layer,
Soul Sonic Force,
The Human League,
Chris & Cosey,
Gichy Dan,
Albert Ayler,
The Leaves,
MC5,
The Buckinghams,
The Pretty Things,
Rahsaan Roland Kirk,
Smog,
Sticky Fingaz feat. Raekwon,
Scrapy,
Janne Schatter, Janne Schatter, Janne Schatter, Janne Schatter.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.